The Complete Hammer's Slammers, Vol. 3

While e-publishing has been a costly waste of effort for others, Baen Books quickly began earning more from electronic sales than it did from book sales in Canada ($6,000/month). By the time of Jim’s death, the figure had risen to ten times that.

Jim didn’t forget his friends. In later years he arranged for the expansion of Fire-Hunter so that he could republish it (as The Hunter Returns, originally the title of the Charles R. Knight painting Jim put on the cover).

Though Clarke didn’t need help to keep his books in print the way Kjelgaard did, Jim didn’t forget him either. Jim called me for help a week before his stroke, because Amazon.com had asked him to list the ten SF novels that everyone needed to read to understand the field. Against the Fall of Night was one of the titles that we settled on.

Jim’s father died at age fifty; he and his stepfather didn’t warm to one another. Jim left home at seventeen and lived on the streets for several months, losing weight that he couldn’t at the time afford. He enlisted in the army as the only available alternative to starving to death.

Jim spent his military career in Bavaria where he worked for the Army Security Agency as a Morse Code Intercept Operator, monitoring transmissions from a Soviet callsign that was probably an armored corps. One night he determined that “his” Soviet formation was moving swiftly toward the border. This turned out to be an unannounced training exercise—but if World War III had broken out in 1960, Jim would’ve been the person who announced it.

Jim entered CUNY on the GI Bill and became a Hippie. Among other jobs he managed a Greenwich Village coffee house, sometimes acting as barker as well: “Come in and see tomorrow’s stars today!” None of the entertainers became tomorrow’s stars, but that experience of unabashed huckstering is part of the reason that Jim himself did.

Jim’s first job in publishing was as an assistant in the Complaints Department of Ace Books. He was good at it—so good that management tried to promote him to running the department. He turned the offer down, however, because he really wanted to be an SF editor.

In 1973 Jim was hired at Galaxy and If magazines when Judy-Lynn Benjamin left. He became assistant to Ejler Jakobson, who with Bernie Williams taught Jim the elements of slash-andburn editing.

Unfortunately, this was a necessary skill for an editor in Jim’s position. The publisher wasn’t in a hurry to pay authors, so established writers who could sell elsewhere preferred to do so. Galaxy and If published a lot of first stories and not a few rejects by major names. Material like that had to be edited for intelligibility and the printer’s deadline, not nuances of prose style.

Apart from basic technique Jim had very little to learn from his senior, who shortly thereafter left to pursue other opportunities. Jim’s first act as editor was to recall stories that his predecessor had rejected over Jim’s recommendation. When in later years I thanked him for retrieving the first two Hammer stories, Jim responded, “Oh, David—Jake rejected much better stories than yours!” (Among them was Ursula K. LeGuin’s Nebula winner, “The Day Before the Revolution”.)

Ace Books, in many ways the standard bearer of SF paperback publishing in the Fifties, had fallen on hard times in the Seventies. Charter Communications bought the company and installed Tom Doherty as publisher. Tom hired Jim to run the SF line. The first thing the new team did was to pay Ace’s back (and in some cases, way back) royalties. By the time the famous SFWA (Science Fiction Writers of America) audit of Ace Books was complete, the money had already been paid to the authors; a matter of some embarrassment to the SFWA officers who were aware of the facts.

Ace regained its position as an SF line where readers could depend on getting a good story. (To Homer, that was the essence of art; not all writers and editors of more recent times would have agreed.) As well as pleasing readers, the Ace SF line made money for the company; unfortunately (due to decisions from far above the level of publisher) SF came to be the only part of the company that did make money. Tom left Ace in 1980, founded Tor Books, and hired Jim to set up the Tor SF line.

Which Jim did, following the same pattern that had revived Ace: a focus on story and a mix of established authors with first-timers whom Jim thought just might have what it took. It worked again.

In fact it worked so well that when Simon & Schuster went through a series of upheavals in its Pocket Books line in 1983, management decided to hire Jim as their new SF editor. Jim thought about the offer, then made a counter-offer: with the backing of two friends, he would form a separate company which would provide S&S with an SF line to distribute. S&S agreed and Baen Books was born.